This paper explores the critical regionalism which could play a role in the continued development of global era Polish architecture, and the advancements achieved by those few contemporary Polish architects who have s...This paper explores the critical regionalism which could play a role in the continued development of global era Polish architecture, and the advancements achieved by those few contemporary Polish architects who have sought to combine modern tastes and techniques with culturally meaningful designs. The new culture of Poland is very much reflected in the design of many of its new buildings that have been completed since the political and economic changes in 1989. The architecture of Poland appears to have lurched from an inappropriate socialist modernism that was so horridly imposed during the communist era to an equally inappropriate post modernist hegemony in the new enterprise culture. In accordance with Poland, now is rejection of the centrally imposed system of building and architecture, and with the greater emphasis on individual initiative in the new culture, it seems a pity that the country should automatically adopt western modes of architectural expression. This paper suggests that with its newly founded freedom, Poland should be careful that it does not suffer a loss of identity and that, in its architecture, it should seek a way forward through a critical regionalism.展开更多
Although Chinese New Literature was strongly anti-traditional in expression, this does not sever the ties of blood that link it to traditional culture; and although it advocates a Western humanistic spirit, it does no...Although Chinese New Literature was strongly anti-traditional in expression, this does not sever the ties of blood that link it to traditional culture; and although it advocates a Western humanistic spirit, it does not install Western literature＇s aesthetic values. Due to the cultural distinctiveness and historical continuity of the Chinese language, it was never possible for the New Literature to become totally ＂Westernized＂ and turn its back on the mother culture. Therefore, when examining the modem transition of Chinese literature as a whole, we must pay attention to its conscious inheritance of the national cultural tradition and to its operating strategy of attacking traditional culture by making use of it, instead of insisting on its inevitable ties with modem Western literature. The New Literature is after all ＂Chinese＂ new literature; no matter how many external factors intervene or are involved, they cannot change its cultural attributes or identification with national culture. This is the premier precondition for our understanding of the modernity of New Literature.展开更多
文摘This paper explores the critical regionalism which could play a role in the continued development of global era Polish architecture, and the advancements achieved by those few contemporary Polish architects who have sought to combine modern tastes and techniques with culturally meaningful designs. The new culture of Poland is very much reflected in the design of many of its new buildings that have been completed since the political and economic changes in 1989. The architecture of Poland appears to have lurched from an inappropriate socialist modernism that was so horridly imposed during the communist era to an equally inappropriate post modernist hegemony in the new enterprise culture. In accordance with Poland, now is rejection of the centrally imposed system of building and architecture, and with the greater emphasis on individual initiative in the new culture, it seems a pity that the country should automatically adopt western modes of architectural expression. This paper suggests that with its newly founded freedom, Poland should be careful that it does not suffer a loss of identity and that, in its architecture, it should seek a way forward through a critical regionalism.
文摘Although Chinese New Literature was strongly anti-traditional in expression, this does not sever the ties of blood that link it to traditional culture; and although it advocates a Western humanistic spirit, it does not install Western literature＇s aesthetic values. Due to the cultural distinctiveness and historical continuity of the Chinese language, it was never possible for the New Literature to become totally ＂Westernized＂ and turn its back on the mother culture. Therefore, when examining the modem transition of Chinese literature as a whole, we must pay attention to its conscious inheritance of the national cultural tradition and to its operating strategy of attacking traditional culture by making use of it, instead of insisting on its inevitable ties with modem Western literature. The New Literature is after all ＂Chinese＂ new literature; no matter how many external factors intervene or are involved, they cannot change its cultural attributes or identification with national culture. This is the premier precondition for our understanding of the modernity of New Literature.
